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More commentary on the Smithsonian exhibition

This seems the takeaway: ""We don't have a lot of control over how people interpret our findings," Bushman told Ars. ... Still, Bushamn suggests that the basic idea that virtual shooting can help improve real-world shooting performance shouldn't be that controversial at its core. "If you want to learn how to fly an airplane and you want to use the media to help you learn, what would be the best way: read a book about it, watch a TV program about it, or play a flight simulator video game?" he asked rhetorically. "Clearly the more interactive the media, the more you're going to learn. Does that mean by playing flight simulator you're going to be good enough to fly a real plane? I don't know, that's a relative decision, but better than if you'd watched a TV program or read a book about it, I would say.""

Twisted Metal designer David Jaffe argues against ambitious narratives in video game design

Wordplay and the Discourse of Video Games: Analyzing Words, Design and Play Routledge Studies in New Media and Cyberculture, 2012 Publisher Description: In this timely new book, Christopher Paul analyzes how the words we use to talk about video games and the structures that are produced within games shape a particular way of gaming by focusing on how games create meaning, lead to identification and division, persuade, and circulate ideas.

Advice from the Game Developer's Conference

June 28, 2012 - A new video game design lab will research and develop compelling video games that engage students in innovative ways and validate student learning of the core skills deemed critical by states for college and the 21st century workplace.

Interdisciplinary team at University of Albany, supported by Intelligence Advanced Research Projects Activity (IARPA), in partnership with a local game company

An argument for the value of narrative in video games through historical exploration

Feminist critique of representation of female game characters and gamers

From the introduction:"Space functions in video games in a multitude of manners, many of which have been examined at length, but for the purposes of this analysis, I focus on several contemporary games that feature dystopian environments and also implement the oft-cited concept of intertextuality in their treatment of visual design. More specifically, I examine the visual design of video games that feature a dystopian setting, and use intertextuality to depict distinct, cohesive game worlds. Through the practice of drawing inspiration across mediums and recontextualizing existing aesthetics in hostile, alien, and oppressive environments, designers employ intertextuality within the spatial context of the 3D game environment and juxtapose the perceived nostalgia of historical visual references with the intrinsic oppression of a dystopian game world. This analysis rejects the notion that the postmodern practice of intertextuality is an intrinsically negative one that dilutes our past - rather, in the games that are mentioned - intertextuality does the opposite. It puts the player in contact with the aesthetic trappings of the past, and in turn, creates an ongoing visual lexicon within a specific, nuanced cultural chronology of the dystopian aesthetic."

A dystopia based on investigation into behavioral economics that envisions video games that are "compelling" and addictive but not fun and rewarding

Published in 2011, "Art, Science, Magic and the Computer Game Medium"

Creator of Persuasive Games studio's site featuring information on his books, writings, and blog